Video transcript

(piano playing) Man: The dory is riding up the great swell and the fisherman is taking that moment to make sure that he can see
the ship he's got to reach. Girl: We're looking at Winslow Homer's The Fog Warning from 1885 and that row boat is
tipped all the way forward. That swell that the boat
is riding on is high and he's about to go back down. He's looking back to the ship
that he needs to get back to and as he looks in that direction
he sees the fog rolling in. Any second that ship
maybe lost in that fog and he'll be out on the open ocean alone. Man: This is a painting
where we see the protagonist this fisherman assessing his situation and we assess it along with him. Girl: Except we don't see his face
very much like in The Lifeline. Home doesn't show us
the face of the figure. We can't exactly read their emotion, but wonderfully that leaves it open for us to think about what he's thinking about. Man: He's had a long and successful day. There are at least 2 large
halibut in the boat with him and he wants to bring them back. He's off the coast of
[Nufinmund] in the open ocean at the outer banks. This is still an important fishing ground but it is very far out to sea
and if he doesn't make it back to that ship he's lost. Girl: And his boat is his livelihood. Ne needs to make it
safely back to that boat and he needs to make it
with the day's catch. He needs to go back and make his living. It really is about the
ruthlessness of nature and we feel that not only
in the strength of the sea but of course in the dark cast of the sky. What is most powerful is not
only the surge of the surf but also the isolation of this figure, it's a big cold ocean. It's really empty and he has nobody to rely on but himself. That ship can't see him,
his boat is too small. The ship that we see on
the horizon is far away and we have a sense of the
extraordinary physical strength it's going to take on the
fisherman's part to get back there. Man: He needs to take these opportunities at the crest of each of those swells to be able to navigate
his way back to that ship. Here he's assessing not only direction, but he's also assessing
the time that it will take and the darkness that's going to fall. Girl: Like Homer's
painting of The Lifeline, we have this moment of danger. This moment where we don't
know what's going to happen. This moment when human beings
try to overcome the dangers that nature has put them in. Like in The Lifeline,
Homer is using a variety of brush strokes to give
us a sense of the water and the spray of the see with
broad whitish blue strokes of paint in the foreground
that we can see through to the dark water underneath. So we really have a sense
of the depths of the sea. Man: That's the foam. You can
see, it's such an effective representation of the
foam that's left over in the wake of the dory. You know what really strikes me is there's this beautiful sunset. If this was a painting
that was made on land as just an expression of a
beautiful aesthetic experience. Here, it's a harbinger of darkness and it really has become menacing. It's so interesting the way
that Homer has transformed the way we would normally
look at a sunset. Girl: Or an image of the
sea in American painting. If we think about the way
that water is represented in luminous painting for
example where it's a beautiful glassy sheen that gives
a sense of reflection and contemplativeness. Here, the sea is a space for drama. Man: And is activated
in every possible way. This is a painting where
the structure of space is absolutely fluid, as
fluid as the water is. Girl: If we think back to the history of American landscape
painting where human beings are not so much actors within that space confronting the challenges of nature. Nature's grandiose and sublime
for example in the paintings of Albert Bierstadt of Frederick Church. Here, it's not the landscape
itself that's sublime that contains force and power. It's the confrontation, it's the relationship
between man and nature. (piano playing)